But what is this great, this sublime end, which the Historical Romance writer proposes to attain? It is this: to illustrate history, to popularize it; to bring forth from the silent studio of the scholar and to expose in the public market of life, for the common good, the great men and great deeds embalmed in history, and of which only the studious have hitherto enjoyed the monopoly. Thus, at least, have I considered the vocation I have chosen, not vainly or inconsiderately, but with a profound conviction of the greatness of my undertaking, and with a depressing consciousness that my power and acquirements may prove inadequate for the attainment of my proposed end. But I am also fully conscious of what was and still is my greatest desire: to give an agreeable and popular form to our national history, which may attract the attention and affections of our people, which may open their understandings to the tendencies of political movements, and connect the facts of history with the events of actual life. The severe historian has to do but with accomplished facts; he can only record and describe, with the strictest regard to truth, that which has outwardly occurred. He describes the battles of peoples, the struggles of nations, the great deeds of heroes, the actions of princes--in short, he gives the accomplished facts. To investigate and explain the secret motives, the hidden causes of these facts, to present them in connection with all that impelled to them, this is the task of Historical Romance. The historian presents to you the outward face, the external form of history; Historical Romance would show you the heart of history, and thus bring near to your heart what, else, would stand so far off. To enable him to do this, the writer of an Historical Romance must, indeed, make severe and various studies. He must devote his whole mind and soul to the epoch he would illustrate, he must live in it and feel with it. He must so familiarize himself with all the details, as in a manner to become a child of that epoch; for he can present a really living image of only that which is living in himself. That this requires a deep and earnest study of history is self-evident. Historical Romance demands the study of the historian, together with the creative imagination of the poet. For the free embodiment of the poet can blossom only from out the studio of the historian, as the flower from the seed; as, by a reciprocal organic action, the hyacinth is derived from the onion, and the rose from its seed-capsule, so are history and poetry combined in the Historical Romance, giving and receiving life to and from each other. The Historical Romance has its great task and its great justification--a truth disputed by only those who either have not understood or will not understand its nature. The Historical Romance has, if I may be allowed so to speak, four several objects for which to strive: